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Stanley Kubrick’s 1980 psychological horror film The Shining contains one of cinema’s most bizarre and unsettling scenes – when Shelley Duvall’s character Wendy glimpses a man in a bear costume seemingly engaged in a sexual act through an open hotel room door, has been interpreted by many as a symbol of sexual abuse.
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The finished film leaves unclear exactly what about his brother’s presence motivated Frank to change his story. The final film only states that Vincenzo is himself a Mafia chieftain in Sicily.
An early draft of the film explains that Vincenzo, shocked that Frankie is about to break his blood oath and betray the Corleones to government authorities, attends the hearing to remind Frankie that he must not break the Mafia’s code of silence, Omertà.
Gelmis: Did you deliberately try for ambiguity as opposed to a specific meaning for any scene or image?
Kubrick: No, I didn’t have to try for ambiguity; it was inevitable. And I think in a film like 2001, where each viewer brings his own emotions and perceptions to bear on the subject matter, a certain degree of ambiguity is valuable, because it allows the audience to “fill in” the visual experience themselves. In any case, once you’re dealing on a nonverbal level, ambiguity is unavoidable. But it’s the ambiguity of all art, of a fine piece of music or a painting — you don’t need written instructions by the composer or painter accompanying such works to “explain” them. “Explaining” them contributes nothing but a superficial “cultural” value which has no value except for critics and teachers who have to earn a living. Reactions to art are always different because they are always deeply personal.
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It’s a devastating coda that underlines the tragedy of this family in general and also looks at Michael’s constant struggles against the grain of the family.
I mean first we learn that it was Sonny who introduced Carlo to the family, and therefore to Connie, which gives greater depth to the events of Part I.
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I’m a director who has been working with actors for almost 30 years, and I’m the son of a film historian. I’ll give you my definition of good acting. But I really want to stress (for the last time, then I’ll quit) is that if I say Pacino is great and you disagree, my experience does not make me right and you wrong. It just means we have different tastes.
For me, an actor is good if …
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Why was Connie Corleone so upset over the death of her husband, Carlo Rizzi, considering all the abuse to which he subjected her, and even more so, his direct involvement in the death of Sonny Corleone?
For a number of reasons: The man she loved, and the father of her children, was dead. And Connie knew, way down deep inside — though she refused to admit it to herself for years — that Carlo was the reason Sonny was murdered on the Long Beach Causeway. Which means, she also knew — again, way down deep inside — that Carlo had it coming. She had simply hoped her position as the daughter of Vito and Carmela Corleone would insulate Carlo.
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In the Theatrical cut the answer is left ambiguous. In the Director’s and Final cuts the answer is definitely yes. In the Theatrical cut most widely seen in the US there are still hints that Deckard might be a replicant which include:
When Sollozzo entered the picture, he requested the Corleone for protection and to give up political influence, something that he did not need at large for his business – so he was pushing his and someone else’s agenda -, in return he will give a cut of the profits, and take care of the Tataglia from his end.
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Mary Elizabeth Mastrantonio in The Abyss.
The scene is legendary because it caused her to storm off set and threaten not to finish the film if James Cameron forced her to do any more takes.
In the scene, Mastrantonio’s character, Lindsey, has just drowned and been hauled back to the oil rig, and her husband Bud (Ed Harris), along with their crew mates, are trying to revive her. Mastrantonio was soaking wet and freezing cold, lying on a metal grate. Her shirt was torn and her breasts exposed, and Harris had to shake her, scream at her, and repeatedly slap her across the face (to which she, of course, could not react, and had to play dead).
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Why did Michael Corleone go through the trouble of assassinating Stracci and Cuneo, too, instead of limiting the bloodletting to just Barzini and Tattaglia?
Actually, in the novel, Michael did only hit Barzini and Tattaglia.
According to the original source material, Stracci and Cuneo were considered less antagonistic of the Five Families, and they never put their full weight behind Barzini and Tattaglia.
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